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420 CINEMATOGRAPHIC ANNUAL
frequencies, which higher frequencies are responsible for both the crispness and articulation. To make matters still worse, where the sets were heavily draped, the damping material usually absorbed these high frequencies more efficiently than the lower ones.
With these early sets, which were designed in such a manner that they accentuated the low frequencies, and removed, by absorption, the high frequencies, it was practically impossible to record highly intelligible speech unless the speaker faced approximately toward the microphone. With the liver sets recommended, if the high frequencies, particularly those which carry the hissing sounds, fail to reach the microphone directly from the speaker's lips, they do succeed in reaching it by reflection from the walls of the set. It is, therefore, possible with these sets to record intelligible speech, where the speaker is facing directly away from the microphone position.
One interesting fact in connection with the use of the technic described is that the pictures recorded by it, are not run too loud in the theater. This probably results from the fact that the reproduction is easily and comfortably understandable at the back of the theater, without excessive loudness.
There is one more important point to stress. Except under very unusual conditions, the mixer dials should be set at the beginning of the take and not touched thereafter. In other words, the record should be made with the volume ranges demanded by the scene being depicted. This rule applies to more than 90% of the recording required for pictures.
Any one who has done much mixing will realize the discomfort of complying with this rule, because of the natural tendency to twist the dials. Someone has facetiously nicknamed this tendency "mixer's itch.,, Probably the best way to overcome it is to continue to twist the dials, but limit the amount of twisting to about 3 db. Since 3 db is scarcely noticeable to the ear, it does no damage to the overall artistic result and is therefore permissible. After the mixer has become accustomed to limiting the twisting to 3 db, he can then remember that since 3 db is hardly noticeable to the ear, this amount of mixing not only does no harm, but also does no good and therefore is unnecessary. In view of the fact that most of the recording does not require mixer manipulation, it seems unfortunate that it is